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三上宽2019深圳专场

民谣 世界音乐
想去 273

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演出详情

参演艺人:三上宽;马木尔

演出场地:深圳 B10现场





三上宽


日本歌手、诗人、演员,世界级的地下民谣音乐传奇。


1971年,三上宽在中津川全日本民谣音乐节上一鸣惊人,台下数万乐迷被这个男人撕心裂肺的歌声所震撼。自此,他便被冠以“怨歌第一人”之名。此后他发表了数张专辑,包括早期代表性杰作《绽放的梦想根本不存在 / 三上宽怨歌集》。


三上宽 @ 4th Tomorrow Festival 摄影:Waitetc_等等


在80年代经历了颓废和沉寂后,三上宽在90年代完成涅槃并进入了巅峰期,活跃至今。他的音乐风格涉猎甚广,涵盖民谣、布鲁斯、摇滚、自由即兴和传统演歌等。1990年开始,他在日本独立厂牌P.S.F. Records发表了一系列个人专辑,并与大量音乐人合作,包括美国作曲家John Zorn、爵士钢琴家山下洋辅(Yosuke Yamashita)、吉泽元治(Motoharu Yoshizawa)和友川カズキ(Kazuki Tomokawa)等。此外,他还与灰野敬二(Keiji Haino)和石冢俊明(Toshi Ishizuka)组成了即兴三重奏Vajra,与石冢俊明和浦边雅祥(Masayoshi Urabe)组成了实验音乐团体Sanjah。


三上宽 @ 4th Tomorrow Festival 摄影:许益铭


三上宽自高中时代就开始写现代诗,现已出版数本诗集,并成立了一所诗学校,在东京和大坂两地定期指导学生。他的歌词是现代派诗歌的果实,乐评人Alan Cummings写道,三上宽的歌词是“一个不为外物所动的宇宙,充斥着个人意象的碎片、无意入耳的对话、久远的记忆、隐晦的祷告、尖锐的观察、各种文化的投影……这种种经由这把日本最独特有力的嗓子唱出——从轻柔耳语飙飞至焦灼嘶吼,他情绪化的嗓音仿佛与生俱来,令人震颤不已。”


三上宽 @ 4th Tomorrow Festival 摄影:E.G


Mikami Kan


Japanese underground folk singer, poet and actor, was born in the village of Kodomari, Aomori in 1950. 


It was in the 1970s that Mikami Kan exploded like a hand-grenade onto the Japanese music scene. He published several high quality albums under the prominent label Columbia Records, establishing his name as a unique folk singer. Popular as he was in the 1970s, he endured quite a dry period during the following decade. Since 1990 he has been associated with the Japanese independent label P.S.F. Records and released quite a number of solo albums, as well as collaborated with many musicians, including New York composer John Zorn, jazz pianist Yosuke Yamashita, Motoharu Yoshizawa and Kazuki Tomokawa.


Over the years, Mikami’s music has touched plenty of styles such as folk, blues, rock ‘n’ roll, free improvised and enka. Meanwhile, he was a member of the improvised trio Vajra with Keiji Haino and Toshi Ishizuka, and the experimental group Sanjah with Toshi Ishizuka and Masayoshi Urabe.



2017.5.20 三上宽 @ 4th Tomorrow Festival

摄制:大發録像 DAFA


As an actor, Mikami Kan’s first role was in “Den-en Ni Shisu"(1974) by avant-garde poet and filmmaker Shuji Terayama. He acted in numerous films by renowned directors such as Nagisa Oshima, Zenzo Matsuyama, Kinji Fukasaku and so forth.


Mikami has started writing modern poems since high school under the influence of Shuji Terayama. The lyrics of his songs have been affected a lot by modern poetry. As music critic Alan Cummings writes, Mikami’s words are an “uncompromising mandala of scattered personal images, overheard conversations, memories from decades past, elliptical invocations, satirical observations, cultural references… sung in Japan’s most uniquely powerful voice – thrilling, effortlessly emotional, soaring from a silky whisper to a rasping scream.”


Remarkably, Mikami is still at the top of his game today, delivering intense shamanic performances on a regular basis.



马木尔


每一个马木尔,都是全新的。


马木尔,音乐人,组建过6支乐队:IZ(脚印)、Kunakar(罪人)、51-RAYON(51区)、Mekrop(细菌)、TAT(锈)、Bande(响马);每支乐队风格不同,主要以氛围、工业、噪音、即兴、实验、厄运嗡鸣(Doom Drone)、黑暗嗡鸣(Dark Drone)等形式呈现,主要乐器为贝斯与吉他。


马木尔 @ 6th Tomorrow Festival  摄影:陈鸿@DAFA


电贝斯就像是马木尔的触发器,常常将现场变成一个万花筒一般无法清晰聚焦的魔幻世界:干裂斑驳、层层递进的声音高墙之后,上有星光点点,下有大漠连延。即使偶尔将意识短暂停留在哈萨克草原,也仅仅是海市蜃楼般稍纵即逝的幻象,或“美丽的噪音”,或“暴力的温情”,每一颗音符都同时携带着它们的反对面,投射出一个异样迷人的多棱秘境。


马木尔 @ 6th Tomorrow Festival  摄影:铜力


Every Mamer is a brand new Mamer.


Mamer is a musician who has formed 6 bands: IZ, Kunakar, 51-Rayon, Mekrop, TAT and Bande. The styles of each band vary from ambient, industrial, noise, improvised, experimental to doom drone and dark drone. He mostly plays bass and guitar.


Mamer uses his electric bass to turn reality into a kaleidoscope – out of focus, fragmented but magical. Behind the wall of the mottled and ever-changing sounds, there is starlight shining upon and desert stretching beneath. Even if your consciousness were brought to Kazakh grasslands for a brief stay, it would be nothing but a mirage. Call it “beautiful noise” or “violent tenderness”, every single note he plays comes out with its own objection, projecting an anomalously captivating world of mystery.



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